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March 13, 1999

Peter Tagtgren is a true metal Renaissance Man. Aside from his main gig with Hypocrisy, he is also the mastermind behind The Abyss and Pain. He is a songwriter, vocalist, guitarist, drummer, keyboardist, producer, and engineer. He is a busy man, and U.S. appearances are few and far between. So it was with great anticipation that the metal legions awaited Hypocrisy's arrival from Sweden to play three Northeast dates in support of the new live album 'Hypocrisy Destroys Wacken'. It all started with a Friday night set at the March Metal Meltdown in Asbury Park, NJ. Despite having to go on as a three-piece and enduring numerous technical difficulties, Hypocrisy tore the place apart and were clearly one of the weekend's highlights. The Metal Update caught up with Peter on Saturday to reflect on the performance and discuss what lies ahead for Hypocrisy.

Metal Update: You played as a three-piece last night. What happened?

Peter Tagtgren: The same morning we were going to leave for America, Matthias just called up told us he had food poisoning. It was fucked up. He said there was no way he could leave. It was a real bummer. We were about to cancel it. It was so close to cancelled.

MU: What made you decide to play anyway?

PT: The people. Because it would've really sucked. It would've been just as negative for us as for the fans. First of all, we'd get a shitty reputation for canceling. It's like what KISS says - never cancel a show.

MU: The show must go on.

PT: Yeah. I mean, OK, we cancelled up in New York two years ago, but that was because Nuclear Blast - there was something about some credit and shit, with the bands and stuff like that. We didn't know that when we arrived. So we didn't want to cancel again, because the next time we toured here people wouldn't show up. They'd think we wouldn't really be there.

MU: Hypocrisy had played a couple of U.S. shows before this weekend, right?

PT: Yeah, we played Milwaukee '97, I think, and we also played Tampa a few days before. We were supposed to go from Tampa and just work our way up, hitting Boston, I think . . . just a bunch of places like Philly, places like that on our way up. For a week trip up the East Coast. But, like I said, it didn't happen. So we flew up from Florida to Milwaukee right away.

MU: How much did you have to modify the set to play as a three piece?

PT: A lot. But if the crowd would have shown a little more enthusiasm, we would have come out with the guy from Dimmu Borgir, 'cause we practiced two songs, "Roswell '47" and "Coming Race". He was on his way to come out with us, if we did an encore. But it didn't seem like the audience wanted it, so we just walked off.

MU: I know at least some of us wanted an encore! (laughs)

PT: But it was all weird, you know. The whole shit. You know, there were no alcohol permits, and shit like that. And the crowd was just like . . . I think they were bummed about that also. Drinking pops all night.

MU: Flat soda.

PT: Yeah.

MU: Three dollar waters.

PT: Yeah, so I mean, what the fuck? A metal gig without alcohol? It doesn't work.

MU: There's beer there today.

PT: Yeah, today they have the permission. It hadn't arrived yesterday. That was the problem. Because I know you would have seen a different crowd if they had been allowed to have beer.

MU: You sounded awesome anyway.


PT: It was OK under the circumstances. Except I blacked out on "Fourth Dimension" because I'm used to playing a seven-string, but this time I just took a six-string and the tones are all different.

MU: And you couldn't do any guitar harmonies.

PT: Yeah, that plus the tones not being on the same place on a six as on a seven-string, and I blacked out. I just, like, fucked it up, you know. (laughs) But whatever.

MU: So I take it we're not going to be seeing "Hypocrisy Destroys the March Metal Meltdown' released any time soon.

PT: No, that's for sure. (laughs) It's probably one of the worst gigs we' ve ever done, to be honest.

MU: Well, to those of us who don't have many opportunities to see you guys, it was still killer.

PT: Yeah, yeah. It's too bad, the circumstances. "Cause if we would have been a four-piece, we would have played for like, at least forty-five minutes. Even if they didn't want it, we would've just walked on and played. And we would not have walked off. That's all. We would've just played the whole set.

MU: Well, you came out with the alien faces on the . . .

PT: Yeah, and all that shit just fucked up also. We were supposed to have a big fucking backdrop on the back, but they couldn't get the shit down so they could hook it up to it. And the side drops, you only use mic stands to put them on. But in America you have a different system to screw them on, and it didn't fit. So they just had to hang them on the cabinets, and everything was just chaos, you know.

MU: Is the fascination with alien imagery something that is personal to you?

PT: I've never seen anything. If I had seen something, I would have said it right away. The only thing is . . . I'm just fascinated. I've watched a lot of documentaries and stuff like that. It's like, at the end of these documentaries, you're as empty on answers as you were before you watched it. And I mean, maybe that's what, you know, drives you to get into it. I would say now I'm not as much into it as I was two years ago. But I'm still very interested in it. 'Cause I was up all night taping all these programs and shit.

MU: So you've never seen anything yourself.

PT: No, no.

MU: Do you think there's a cover-up?

PT: Both yes and no. I mean, today I don't even know what the fuck is goin' on. Is it for real, or is it not? But I think if it was real, I think the governments have a reason to cover up.

MU: Which government are you talking about?

PT: All the governments. I would assume that it would be, like, teamwork throughout the whole fucking world. Because if it would come out, maybe, it would bring out chaos. Stuff like that. You know, the physics laws, and stuff like that, would not really be what they think they are. And oil, energy, nuclear factories and stuff like that. A lot of people would be out of work. Also religion would just fucking flip.

MU: Have you ever seen the movie "Contact"?

PT: Yeah, yeah.

MU: That's sort of what that movie is about.

PT: Yeah. I mean, I didn't like the movie. I liked it at the end, the last part when she really arrived at the place. That was cool, you know. You saw all the - the sky was different and I thought that was really unique. But it took too long before shit happened. It's like c'mon, c'mon, c'mon, it's two-and-a-half hours! (laughs)

MU: Did you ever read "Chariots of the Gods"?

PT: No.

MU: It theorizes that religions are based on human conceptions of aliens descending from the heavens. For example, it suggests that the Virgin Mary was artificially inseminated by aliens, and thus, Christ was the son of "God".

PT: I think you see these images everywhere. Even in churches from like, the 1600s, the ceilings had paintings of someone coming through the sky. Something's gotta be going on.

MU: Are you familiar with the X-Files?

PT: Yeah.

MU: Are you a fan?

PT: Yeah, but I wish they could concentrate more on that stuff than all the weird shit.

MU: The filler episodes?

PT: Yeah, for me, it doesn't make sense. I just watch it when it's really about aliens and stuff like that.

MU: Are they showing the same episodes in Sweden as they are showing right now in the United States?

PT: Yeah, but I think they're like ten or twenty episodes behind.

MU: So you haven't seen the "Full Disclosure" episodes?

PT: Which ones? The movies?

MU: They have these new episodes which supposedly answer all of the questions about the conspiracy.

PT: Really? No, I haven't seen them.

MU: They aired in the United States a couple of weeks back.

PT: Oh really? No, its gonna take a while for us to get them.

MU: How do you assess the current state of American pop culture?

PT: I think there's too much rap and stuff like that. I don't like rap. I hate rap. It doesn't matter if it's a black person or a white person. I've got nothing against that. It's just that I just hate rap.

MU: Is that what's happening in the United States right now?

PT: Yeah, a lot of rap.

MU: So you're not into Korn or Limp Bizkit or shit like that? (laughs)

PT: No. (laughs) I hate that. No, I mean, not hate, but I don't like it. I don't like it at all.

MU: What music do you like?

PT: I like all kinds of shit. I like Depeche Mode, and the Beatles, and all kinds of stuff. I like a lot of '70s stuff, like Led Zeppelin.

MU: What about the '90s?

PT: It's not much. That would probably be Depeche Mode and stuff like that.

MU: What about metal? Contemporary, 1999 heavy metal.

PT: '99 metal? Not much.

MU: What are your thoughts on the Gothenburg scene?

PT: It's cool that they've kinda created their own style a little bit, which is cool.


MU: You hang out with any of those guys at all?

PT: No, I mean, I live in the woods. In a village. Like, I think it's seven houses where I live. In a big area of a field.

MU: Who are Hypocrisy's musical peers right now?

PT: I don't know. I'm not saying that we're unique or original or anything. But I feel like we have elements of gothic in there. We have elements of death metal. We have elements of black metal. And mixed together, it's hard to say.

MU: Is Hypocrisy a metal band?

PT: Yeah, you know, it's just metal, you know. It doesn't matter if its gothic or black or death or whatever.

MU: Who are your musical influences?

PT: I think it's mostly the shit I grew up with. And also just distorted guitars and tuned down.

MU: Are you an Iron Maiden fan?

PT: No. I mean, I liked the first four albums. Up to "Piece of Mind' is OK. "Powerslave' is OK, and after that I didn't like them.

MU: You know Bruce Dickinson rejoined the band.

PT: I heard that.

MU: A good move?

PT: I think its cool, but I prefer Paul DiAnno. He's more punk and more aggressive vocals.

MU: If Iron Maiden asked Hypocrisy to come out and support them on a U.S. tour, would you be into it?

PT: Yeah, sure!

MU: You ever heard of the Ozzfest?

PT: Yeah.

MU: What do you think of that?

PT: I think it's cool "cause a lot of people get to see bands that are not as big as Ozzy and Pantera and stuff like that.

MU: But there's no bands like Hypocrisy or Dimmu Borgir.

PT: Nah. I mean, the closest to that would be like Meshuggah or something like that.

MU: Slayer is playing this year.

PT: Cool.

MU: Have you seen any of the other bands here at the March Metal Meltdown?

PT: Yeah, I tried to hang out, but its been kinda hectic, because I've been doing interviews all the time also, so I haven't really been able to sit down and just watch one band all the way through. You have to work also. Which is cool. I don't mind that at all.

MU: Are you familiar with Iced Earth?

PT: I think they're really cool. I think the vocalist . . . I mean, their music is not power metal, but it's as far I can go toward that kind of music. It sounds honest. Metal. I like the vocalist. For me, it sounds a little like Paul Stanley sometimes. I think they're cool.

MU: What about Amorphis?

PT: Amorphis I also like. They have a lot of melodies.

MU: Have you heard their new album?

PT: No.

MU: Did you catch the set last night?

PT: A little bit, yeah, back and forth. So I heard some old songs and some new stuff. I miss the growling though.

MU: "The Final Chapter' was going to be the last Hypocrisy record. What inspired you to soldier on?

PT: Not "inspired', but you know, commitments from the label, commitments from the other guys in the band to help out.

MU: Was there a day when you were sure it was over?

PT: Yeah. Yeah, oh yeah. Fuck yeah. But that was before the album came out. When I did press for its release, I said, "it's not going to end, but it will be the last album for a long time.' And, you know, it will be almost two years. Yeah, it will pretty much be two years. Well, not in America, not as much. But usually we just release every year.

MU: What made you decide to go ahead with a live album at this point?

PT:That was weird, because we played Wacken and Nuclear Blast hired a video and recording crew. We didn't think much of it when walked up onstage, we just played.

MU: So it wasn't your idea?

PT: No. And the sound guy mixed it and clipped it together and suddenly he just comes up and says, "maybe you should release a live album, because it sounds very good.' (laughs)

MU: Did you come up with the title?

PT: Yeah.

MU: It's a great title.

PT: It's a little bit KISS, you know, like, it's cool.

MU: Are you a KISS fan?

PT: Yeah, big time. I mean, I don't like the newer stuff. I like the "70s stuff. I'm a collector and shit.

MU: Did you see them on the latest tour?

PT: Yeah, I just saw them two weeks ago.

MU: Kick your ass?

PT: No. They will never kick my ass again, (laughs) you know? I mean, i '96 I saw them on the first reunion tour. At Donnignton. There was 100,000 people there. They had the full show, and they were not spacing out while they were singing, they were singing exactly like they were playing, and they were playing very well. But every time after that, I saw them three more times after that, and each time they've gotten shittier and shittier and shittier and shittier every time. (laughter) But this time, Peter Criss actually played good drums. Because before that when he was hitting the cymbals it was so . . . this time they were really moving you know. (laughs) But KISS is what made me want to be a musician.

MU: Peter, you're a Renaissance man. You play the drums, you play the guitar, you play the keyboards . . .

PT: Yeah, but I hate the keyboards! (laughs)

MU: . . . you sing, you're behind the board in the studio. Is this just what you do and you can't help yourself or . . .

PT: Yeah, I mean, the only thing I want to do in my life is music. Because I bleed music, I shit music. It's a twenty-four hour thing. But now I have a son and stuff. So I have to really put it aside a little bit.

MU: Is it about music for you, or metal music?

PT: I think, in general, it's about music. I mean, metal music I get all day long. But for me, when I create music, I don't think about if it's metal or not. Because I write it on an acoustic guitar. So it doesn't matter whether it's distorted guitar or not when I write it. Whatever comes out, comes out.

MU: But still, you don't expect Hypocrisy to ever lighten up?

PT: I think the strongest thing about Hypocrisy is that we do very good slow songs, depressing songs, agonizing-mood kinda songs. That's what we like to do. But we also want to do fast songs. But I don't think we are as good on the fast songs as we are on the slow songs.

MU: What songs are an example of what you are talking about? Some of those "Fourth Dimension' tracks where . . .

PT: Nah, 'The Fourth Dimension' to me is the shittiest album ever.

MU: But a lot of people say that's the album that signaled your change.


PT: It broke the . . . yeah, yeah, yeah, that's true. But it took us a while to get as good as we should . . .

MU: What's the best Hypocrisy album?

PT: The new one.

MU: 'Destroys Wacken'?

PT: No, the new one.

MU: Coming up? Called 'Cloned'?

PT: No, it's not going to be called 'Cloned'. It's just gonna be called "Hypocrisy'. We've seen so many bands called . . . we were so stupid coming out and saying, "Yeah, we are going to call it 'Cloned'.' Three or four bands have the same title on their album.

MU: Why were you going to call the album 'Cloned'?

PT: Because we were supposed to stand in water tubes. Water tanks. The three of us . . .

MU: (laughs) Sounds like Spinal Tap a little bit . . .

PT: Yeah, yeah, yeah!!! "Can't get out! Ahhhh!" (laughs) No, but its more like "Alien 4", have you seen that?

MU: Yeah.

PT: It's more like that. When she walks in and she sees all the . . . that 's how I wanted it. The three of us standing in there. But this artist, he couldn't fix it. We went into a pool and took pictures in the water and shit. And we put it together in the computer and it looked like shit. It looked like I did it. So, everything just fell through on that also. Plus, every time we got a CD catalogue we noticed, "This band, their album is called 'Cloned'.' Fuck it. So we just said 'Hypocrisy'.

MU: So you guys have kept some of the alien context on this album as well?

PT: Yeah.

MU: What can we expect from the new music?

PT: At least half of the album is like 'The Final Chapter' kinda feeling, that song. You know, slow, depressing kinda stuff. You have two really fast ones, like - really fast ones. Not blasting black metal, but [mouths basic thrash / speed metal beat a la Slayer]. The vocal, I think, is doing more - I used a wider range, this time, than I did on 'The Final Chapter'. There's more clean vocals, but there's also more brutal vocals. I separated. They're not so close together this time. It's like either this way, or that way, or that way.

MU: Which way do you prefer to sing?

PT: All of them.

MU: Just whatever is right for the song?

PT: Yeah, 'cause I listen to the song. Because this time also, the slow songs have a lot of melodies, all the time. With harmonies and stuff. Sometimes it feels like, either you growl on this song - a slow song I prefer to growl on it, 'cause it makes it more powerful. If it's a fast one I scream because it's more aggressive.

MU: So we can expect to hear a lot . . .

PT: You will hear all the same shit. Yeah, you will hear the whole kit ancaboodle. (laughs) There's not going to be a big change there. It's just that instead of 'Final Chapter' with six fast songs, there's only going to be two fast songs. But you're gonna have mid-tempo songs and you will have the slow songs.

MU: Are you excited to play in the United States?

PT: Yeah. We've been looking forward to this for a long time.

MU: What kind of expectations do you have for success with your new album in America?

PT: We don't really see it that way. Because when you write a song, you don't think is this gonna sell or not. You just write the song and, you know, you write a bunch of different songs, and then at the end we just pick. This one's good, this one - no, I don't like this riff. OK, let's put this one . . .

MU: It has nothing to do with how many albums you can sell.

PT: No, of course not.

MU: But a lot of European bands have almost a disdain for the American market. It's frustrating, isn't it?

PT: Yeah, but the way I see it, everybody's gotta choose by themselves. If you want to really go at it, you know, just try to be a professional musician and just sell your soul or whatever - you become a prostitute if you're just playing music to sell albums, you know? I write music the way I would like to buy an album. This is my kinda taste.

MU: Do you think Metallica still has value?

PT: I think they are becoming more business people than musicians. And I don't think they have a clue what's going on with the music around them. I just think the thing is business. People probably tell them, "Well, you should probably do this," some stupid manager, 'cause I heard it for us also. "Well, if you would do this you will sell more.' And its like, it's not about selling albums, it's about being happy with what you are doing.

MU: And you wouldn't be happy any other way except making the music you want to make.

PT: Yeah, exactly. Because its stupid - OK, it's probably very fun to get out on stage and play in arenas and stuff like that, but it's better to fucking be happy. 'Cause I got my shit together. I got the studio and I love the studio and shit.

MU: What's going on there?

PT: Just finished up the new Marduk album. 'Panzer Division', it's called. Well, it's actually called 'Panzer Division Marduk'

MU: Sickly heavy.

PT: Sickly fast.

MU: (laughs)

PT: There's only one speed, and it's full-blast. The whole album. There's no beat that changes. The only beat is [mouths hyper-fast blast beat].

MU: Blast beats.

PT: Yeah, and that was the whole point. It's like 'Reign in Blood', except Marduk's way.

MU: How do you choose which bands to work with?

PT: I don't choose, anyone can book my studio.

MU: So if the three of us wanted to bang out some stuff and were gonna pay you the right money . . .

PT: Yeah. Yeah. And it's all the same money for every band. It doesn't matter if it's Metallica or whatever.

MU: So the bands you produce and work with are not a reflection of your own taste.

PT: No.

MU: What about Amon Amarth?

PT: Yeah. We're working right now. They just had to take a break 'cause I was going here. So they have a week vacation. And then when I get back we keep on working . . .

MU: I love the work you did on the first album.

PT: Yeah, I think it came out good. This one is much more grown up and professional, I think. Also the vocals - not too much of the [makes a sound like Chewbacca] type pitch. It's more like . . . either it's lower or higher. Everything is much more professional. The songs are more heavy. It's more riff-based kinda shit.

MU: How much of a role do you play in shaping the final sound of these bands?

PT: I think I have a lot to do with it. Because I"m the one who is sitting at the mixing board, fucking around with the EQ. But we all agree on things, we ask each other, "Do you think this will work?' I have a vision, because usually I get a tape, and I know this will probably work for this recording. I show it to them, and if they like it we keep on going. And if they don't, we try to go halfway each. Try to find the place between. Because it's only a matter of taste when it comes to production. My taste is this way, and other producers or engineers or whatever you want to call them, have their taste. And that's why it sounds like their production.

MU: Any bands you would like to produce?

PT: There's so many bands. It's cool when other bands like Amon Amarth come in, because they play different from full blast beat, you know? But if I only did that kind of music - I need different kinds of music. I would even go further steps . . .


MU: . . . outside of metal . . .

PT: Yeah, you know, just to get inspiration, just to kick into metal.

MU: What if Korn or Limp Bizkit wanted to come into your studio?

PT: I don't know, I would do it. I would probably do it, because these bands don't have good production. Seriously, it doesn't sound really good. I think that production means something different when you come up to the majors. It's more like this guy who sits and tells them what to do, riff by riff. I'm more like a sound guy and someone who tries to push . . . for example the drummer, OK, no, this is not good enough, let's try it again. Yeah, it's getting better, but I think you can do it better. And that kinda thing. I'm not, like, saying, "Do this, do that, do this.' It's more - you can't just be an asshole. It's like when Covenant went to Woodhouse in Germany . . . you know Hellhammer?

MU: Yeah, sure.

PT: The guy who was producing them was like, "Hellhammer, you're the shittiest drummer I ever heard'. And blah, blah, blah. And he just didn't have the fire in him anymore. Because this guy was just talking shit to him. You know if someone did that to me, I would smack him. But he didn't. He was just taking it. And his self-confidence just went to shit.

MU: So you see an engineer's role to be more of a tool to be used by the band to get the sound they want.

PT: Yeah, but I would also say, "Why don't you try this chord, instead. I think that would sound better." Or if they have melodies I might tell them, "Put some harmonies on it.", if it's better.

MU: And with Dimmu Borgir?

PT: Same there. It's just teamwork.

MU: Are you going to check out Sepultura tonight at the Meltdown? Are you a fan?

PT: No. I'm a fan up to "Beneath the Remains'. For me that was their top.

MU: What "80s thrash metal heroes do you think are still delivering the goods?

PT: No one.

MU: What about Slayer?

PT: Nope. The new album sucks. Totally sucks.

MU: What was the last Slayer album you liked?

PT: The one before that was OK.

MU: 'Divine Intervention'?

PT: Yeah. It was OK. Because it was still sounding like Slayer.

MU: What's the difference with this new record?

PT: Now they tune down and try to be - put in some kind of Machine Head shit into it. I mean, I'm not talking shit about Machine Head, 'cause they' re unique, they have their own sound, that's why they made it. But I mean, Slayer is Slayer. But I know people say that about us also. Some people would say "why didn't you stick to the 'Penetralia' thing?" So it's hard to complain about different bands. Everybody's gotta do what they have to.

MU: But you at least have other things going on. You have The Abyss.

PT: Yeah, but Abyss is not working anymore because we can't top the last album.

MU: What about Pain? Are you doing work on a new album?

PT: Yeah, I'm working on it right now. And that one is going to be totally the opposite way. It's gonna be more industrial. I don't know. You ever heard of Rammstein? The German band?

MU: Oh yeah. I saw them with, (laughs) Korn.

PT: Pretty much like that, but its more techno sweeps from the keyboard, and stuff like that. A lot of drum loops in the back. For me, it's just an experiment that turned out very well, 'cause now I have like majors and shit looking into it.

MU: What if that was to take off? What would that do to Hypocrisy?

PT: Nothing really any different. I wouldn't tour any more than I do with Hypocrisy.

MU: Now you have the family obligations. You have a son.

PT: Exactly.

MU: Is that taking away from what you can do with Pain and some of the other projects?

PT: In the beginning it was. Now I just figure it out. I just start earlier in the morning. (laughs) So, it's like, when he falls asleep, I usually fall asleep too.

MU: So we can expect you to continue with all of your projects?

PT: Yeah, I'm a workaholic. Can't be without it. But I don't want my family to suffer. Because I want my kid to grow up knowing he has a dad. No matter what.

MU: Which is the more important aspect of your career, producer or musician?

PT: The production is what I pay the bills with.

MU: What if one had to go?

PT: I can't be without writing music. It's like - you better shoot me.

MU: So you will find a way.

PT: I will always find a way. Just like I did with the kid. Nowadays I get up a quarter after six in the morning. My girlfriend has a twelve-year-old kid, so I get him to school, and then quarter after seven, I go out to work.

MU: Is your girlfriend's kid a Hypocrisy fan?

PT: No. Well, he's a very talented musician. He plays drums. And I know he can be. But he's a lazy - fuckin' Game Boy and all that shit. Pinball - not pinball, but all the computer games and shit. He's from that generation, I guess. But he's very talented. He plays keyboards; he plays drums. And I know if he keeps going he will be a very talented musician. But I don't want to push him to try to do it. We tried to push him for a while with the homework for the drum lessons and stuff like that. But we just saw he was only trying to please us. So we just said, OK, just give it up, that's your own choice when it comes to the music. That's cool. I'm the biggest asshole dad in the world. You wouldn't believe me when you see me here, but when I'm home . . .

MU: What do you mean you are an asshole dad?

PT: "Cause I'm a very strict dad. If he forgets homework, he has to get on the bike - it doesn't matter if its like zero degrees out, he has to take the bicycle to the school, which is like three kilometers. Because they become numb if you just go, OK, whatever, you know? And they start getting sloppy and shit. But if you keep them up - they know if they fuck up they' re gonna get shit for it. So they never let anything slip. Just take away the Nintendo and shit like that. Not watch TV. And they think more, maybe they better bring home the shit, 'cause they get shit for it.

MU: Did you go past the equivalent of a high school education here in the United States?

PT: No. I dropped out, after nine years. Is that high school? When I was fifteen. The ninth grade.

MU: You're obviously very successful. Do you regret not going further with school?

PT: No. But I wouldn't tell my kid to do the same thing I did. I would try to keep him staying in school, because it's not that much work. And if you got a good education, you can get better jobs that pay more.

MU: Well, shifting gears a bit, did you think it was going to be this cold when you got here?

PT: This is not cold, this is summer! (laughs) But I mean it's the same here as in Sweden. You have four seasons here, we have four seasons at home also. But this winter has been very shitty. OK, its been snowing like - in one night it can come up to fifteen or sixteen inches, and then it melts the next day.

MU: You live in a very rural area.

PT: I live in fucking no one's area. Area 51. (laughs)

MU: Do you think that has anything to do with your sound?

PT: No, not really. It's just peace and quiet. I can be myself. If I want to try to be a rock star or go out on tour . . .

MU: Any plans, by the way, for an American tour?

PT: We're working on that right now with the president of Nuclear Blast. Trying to figure out what's gonna happen.

MU: Would you do a support gig for a larger act?

PT: I think that would make more sense.

MU: Who do you think you could go out with?

PT: Gee, I haven't thought that far. Korn? (laughs)

MU: You'll take what you can get.

PT: Yeah.

MU: Any last words for the Metal Update readers?

PT: Watch out for the new album. Self-titled. Also, 'Wacken' just came out here so pick that one up too!

-- LINKS --




Interview: Eric German, Paul Harrison, Brant Wintersteen
Editor: Brant Wintersteen
Webmaster: WAR
Update Support: Laura German
Photography: Cynthia Pelzner
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